Gianni Schicchi by Puccini and Les mamelles de Tiresias

UNIVERSITY OF TORONTO: FACULTY OF MUSIC
OPERA DIVISION

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PUCCINI
(im on (shi)

(the Bosamot Y POULENC
== eee as) i in Engl’sta).
MARCH 7 8, 14, 15.198G6...... 8PM
MacMILLAN THEATRE

EDWARD JOHNSON BLDG.

THE OPERA DIVISION
presents
. GIANNI SCHICCHT
An Opera in One Act*
by
GIACOMO PUCCINI
Libretto by Giovacchino Forzano

CONDUCTOR James Fraser-Craig (March 7, 14)
John Greer (March 8, 15)

DIRECTOR Constance Fisher

SCENIC DESIGNER Brian H. Jackson

COSTUME CO-ORDINATOR Diane McCann-Davis

LIGHTING DESIGNER Fred Perruzza

CAST
March 7, 14 March 8, 15

GIANNI SCHICCHI Peter Barnes** Robert Ursan
LAURETTA, his daughter Sung-Ha Shin Susan Sereda
THE RELATIVES OF BUOSO DONATI:
ZITA, Buoso's cousin Gabrielle Prata Marcia Swanston
RINUCCIO, Zita's nephew Stephen McClare Benoit Boutet
GHERARDO, Buoso's nephew Kenneth Beal Robert Dirstein
NELLA, his wife Sherri Curtis Jane Leibel
GHERARDINO, their son Jesse Clark Alex Miecznikowski
BETTO, Buoso's brother-in-law Mark Wilson Regan Grant
SIMONE, Buoso's cousin Regan Grant Robert Milne
MARCO, his son Robert Ursan Mark Wilson
CIESCA, Marco's wife - Adrianne Pieczonka Alison Pybus
AMANTIO DI NICOLAO, a notary Benoit Boutet Stephen McClare
SPINELLOCCIO, a physician Jay Lambie Jay Lambie
PINELLINO, a cobbler Richard Szuba Richard Szuba
GUCCIO, a baker Blaine Hendsbee Blaine Hendsbee

*By permission of the copyright owners G. Ricordi and Co. and their agent
Boosey and Hawkes (Canada) Ltd.
** Graduate Guest

__—_—_——<= ———

J GIANNI SCHICCHI

Travel restrictions after World War I prevented Puccini from attending

the world premiere of I] Trittico (The Triptych) when given at the Metro-
Biciitar Opera in 1918. For the occasion, the company drew on its finest

resources. With Claudia Muzio in I] Tabarro, Geraldine Farrar as Suor

Angelica, and Giuseppe de Luca creating the role of Gianni Schicchi, the
B composer missed a notable evening.

A "triptych" is a writing tablet of three hinged plates that became a

triplet of paintings attached together during the upsurge of Renaissance

Ber. Triptychs were usually three pictures on the same theme, but these
one-act operas are complete in themselves. Gianni Schicchi, a riotous
look at greed and skulduggery, is Puccini's only comedy and is the most
popular and most frequently performed of the three works.

Forzano's quicksilver libretto is based on six lines found in Dante's
Divine Comedy: Among those guilty of fraud and consigned to eternal
torment, the presence of a certain Gianni Schicchi is noted. From this
slim reference the plot of the opera has been developed.

Like birds of prey, the relatives of the wealthy Buoso Donati gather at
his deathbed in thirteenth-century Florence to mourn his passing and inves-
tigate his bequeaths. Rinuccio, believing that the old man was genuinely
fond of him, is hopeful that a generous sum may come his way. With some
financial security he will be able to marry his beloved Lauretta, daughter

| Gianni Schicchi, in spite of the objections of his evil-tempered aunt.
Rumour has it that Buoso has left everything to a monastery, but if his
will has not been filed there is still hope for the relatives who begin a
frantic search for the document.

The will is found and read, the monastery rumour is confirmed, and the
relatives are in genuine mourning. Rinuccio suggests that only one man,
Gianni Schicchi - shrewd and self-made - has the imagination and guile to

Bj save the situation. It does not take Schicchi long to realize that he is
surrounded by hypocrisy and avarice and he at first refuses any help or
advice. However, when Lauretta begs him for permission to marry Rinuccio,

he realizes that the future of the young couple lies in his hands and
conceives a bold plan to impersonate Buoso. The grasping relatives are
dealt with permanently, the honour of the Donati name is restored, and the
lovers face a happy future.

This production is dedicated to the memory of ERNESTO BARBINI, 1907-1985.

Maestro Barbini was born in Venice, Italy, and, at the invitation of Edward
Johnson, came to Canada in 1953. The development of opera at the Royal
Conservatory of Music, the Faculty of Music, and, indeed, throughout the
nation owes much to him. Over the years, scores of singers, coaches, con-
ductors, and directors have profited by exposure to his vast knowledge and
guidance.

LES MAMELLES DE TIRESIAS

Opéra-Bouffe in two acts with prologue by Francis Poulenc
Text by Guillaume Apollinaire from his original play

CONDUCTOR Michael Evans

DIRECTOR Michael Albano

‘SET DESIGNER Edward Kotanen

COSTUME DESIGNER Diane McCann-Davis

LIGHTING DESIGNER Fred Perruzza

CAST
March 7, 14 March 8, 15

DIRECTOR OF THE THEATRE Robert Ursan Mark Wilson
THERESE Jane Leibel Karen Davis
HER HUSBAND Gary Rideout Lenard Whiting
MONSIEUR LACOUF Robert Dirstein Kenneth Beal
MONSIEUR PRESTO Robert Milne Regan Grant
A GENDARME Mark Wilson Robert Ursan
A NEWSPAPER VENDOR Lisa Gaasenbeek Anne Demougin
A REPORTER FROM PARIS Louise Van Winkle Gabrielle Prata
THE SON Anne Demougin Louise Van Winkle

THE TOWNSPEOPLE: Margaret Ball, Marianne Bendig, Adreana Braun, Russel]
Braun, Rayanne Dupuis, William Good, Blaine Hendsbee, Francine
Himelfarb, Joanne Hounsell, Cathy Janus, Uwe Lieflander, James Pinhorn,
David Playfair, Richard Szuba, Sheila Wills

BABIES: Héléne Bernatchez, Louise Boyden, Jacqueline Chambers, Sara Chun,
Norma Churchill, Renata Duma, Cynthia Evans, Mary Hahn, Meredith Hall,
Avril Helbig, Fiona Rose, Jackalyn Short, Sandra Schwartz, Nancy
Taylor, Katherine Twaddle

TANGO DANCERS: Leslie Fagan, Elizabeth Forster, Sally Heit, Linda Osborne,
Adrianne Pieczonka (March 8 & 15), Alison Pybus (March 7 & 14), Susan
Sereda (March 7 & 14), Sung-Ha Shin (March 8 & 15).

The Opera Division gratefully acknowledges the generous assistance of

the McLean Foundation towards the production costs of LES MAMELLES DE
TIRESIAS.

"By arrangement with Theodore Presser Company, Bryn Mawr, Penn. U.S.A. -
Sole Agents in North America for Heugel et Cie., Paris, Publisher and
Copyright Owner."

mH HH HFEF ee HF HE SE FS F&F FF FF |

| Apollinaire wrote THE BREASTS OF TIRESIAS in 1903, adding the prologue
and final scene fourteen years later, after having served and been serious-
y wounded in the Great War. It was in an introductory note, written for
f. premiere, that he invented the word ‘surrealism’, thus giving a name
© a new movement in art and literature. The facade of ribald humour and
music-hall farce, which barely disguises the disillusionment at the futility
f war and appalling loss of young lives, appealed to Poulenc, who set it
0 music in 1944.

A brisk orchestral introduction heralds the "Director of the Theatre",
ho addresses the audience from in front of the curtain. In serious tones
e explains that the object of the drama is to reform customs, a moral ex-

hortation to produce more children. He retires and a drum-roll introduces
he sun-lit atmosphere of the main square of "Zanzibar". Thérése, young,
retty, and eccentric, declares herself 'a feminist and outlines her mascu-
line aspirations. She feels her breasts detaching themselves and with the
rowth of a beard, her virility is complete. Pleading, her husband emerges

the house with a bouquet. Recognizing his wife's clothes but not his
ife, he is greatly perturbed and seeks her everywhere. She confronts him,

no longer Thérése, but Tirésias. Returning to the house, she hurls useful
nd intimate articles out from the window.

As the husband goes back into the house, two drunks, Presto and Lacouf,

come out of the adjoining café. They have been playing at 'Zanzibar', a
ard game, and unable to decide who has won, they resolve the dispute by
hooting each other.

The emancipated 'Tirésias' returns in a smart suit and newly shaved,
ollowed by her husband dressed as a Woman. The people of Zanzibar join the

ourie in mourning Presto and Lacouf. Their corpses are removed, and
Tirésias' is ready to conquer the universe.
A Gendarme arrives to investigate the crime that has taken place.
atching sight of the husband, he begins to flirt with 'her', as the people
f Zanzibar are heard off-stage hailing 'General' Tirésias. The husband
declares his intention, since the newly-liberated women of Zanzibar are
roducing no children, to produce them himself. The husband promises the
endarme that he will show him that very evening how he can produce child-
ren without assistance.

A domestic scene showing the husband tending his new offspring is inter-

Bert by a Paris reporter, anxious for information. Indiscreetly, the
ournalist asks for a loan, and is booted off. The husband soliloquizes.
He will produce more children, and first, a journalist. Scissors, pen, ink
Ei: glue produce the desired result. The newborn son proves rather sophis-
icated and goes off .to "imagine" tomorrow's news. The Gendarme returns,
warning that over-population is now causing famine in Zanzibar. But before
he Gendarme can arrest the husband, there is an interruption: a fortune-
Ee: arrives on the scene. Having disposed of the Gendarme, Thérése re-
eals herself to her husband. Once more united in love, Thérése and her

husband exhort the audience to go home and make children.

ORCHESTRA

(Members of the University of Toronto Symphony Orchestra)

VIOLIN I

Marc Sabat (Concert
Master for "Gianni
Schicchi")

Geoffrey Nuttall
(Concert Master
for "Les Mamelles
de Tirésias")

Carol Fujino

Joanna Zabrowarna

Paul Zafer

Dean Marshal]

Mary Ann Fujino

John Douglas

Elizabeth Johnston

Catherine Lepard

VIOLIN II

Nicole Zarry
(Principal)

Angela McCullough

Victoria Dvorak

Angela Cox

Andrea Weber

John Bailey

Tracey Finn

Jane Woods

VIOLA

Rifat Qureshi
(Principal )

Jonathan Craig

Julian Fisher

Ross Daly

VIOLONCELLO
Margot Marlatt
(Principal)
Joo Won Kim
Jean Bresse
Greg Hubert
Laura Jones

DOUBLE BASS

Louis Garson
(Principal)

Jessica Monk

Edouard Wingel

Jonathan Chalaturnyk

Michael Lyons

FLUTE
Ronald Korb*
Jennifer Cluff**

PICCOLO
Jennifer Cluff
("Gianni Schicchi")
Ronald Korb
("Les Mamelles
de Tirésias")

OBOE
Genevieve Graham*
Joanne Allen**

ENGLISH HORN
Genevieve Graham

CLARINETS
Brian Simpson*
Laurie Bell**

BASS CLARINET
Ameene Shishakly

BASSOONS —
William Cannaway*
Larkin Hinder**

HORNS

Madeline Levinson*
David Parker
Jennifer Wilson**
Colleen Young

TRUMPETS

Douglas Court*
Stephen Warkentin
Valerie Cowie**

TROMBONE
Lee Milliken

TUBA
Michael Redner

TIMPANI
John Thompson

PERCUSSION
Paul Ormandy

HARP

Laura Stephenson
("Gianni Schicchi")

Laurel Federbush
("Les Mamelles de
Tirésias")

PIANO AND CELESTE

Stephen Ralls
(Member of the
Opera Division
Music Staff) ~

*Principal - Gianni
Schicchi

**Principal - Les
Mamelles de Tirésias

ORCHESTRA MANAGER
Louis Garson

a=

t - OPERA DIVISION -

CO-ORDINATOR
MUSICAL DIRECTOR
STAGE DIRECTORS

HEAD COACH & CONDUCTOR
MUSIC STAFF
MUSICAL ASSISTANT

iF ADMINISTRATIVE ASSISTANT

Michael Albano

James Fraser-Craig

Michael Albano, Martin Chambers,
Constance Fisher

Michael Evans

George Brough, John Greer, Stephen Ralls
Mary Hunter

Jacqueline Spafford

PRODUCTION STAFF

TECHNICAL DIRECTOR/
PRODUCTION MANAGER

STAGE MANAGER

ASSISTANT TO THE TECHNICAL
DIRECTOR

ASSISTANT STAGE MANAGERS

CARPENTER
SCENIC ART SUPERVISION BY
SCENIC ARTIST
ASSISTED BY
PROPERTIES
ADDITIONAL SCENIC DESIGN
(GIANNI SCHICCHT)

[ COSTUME CUTTER
SEAMSTRESS
MAKE-UP SUPERVISOR
i ASSISTED BY

WIG MISTRESS
[) ASSISTED BY

a CREW CHIEF

LIGHTING BOARD OPERATOR
FLYMAN

STAGE CREW

Fred Perruzza
Jim Livingstone*

David Macdonel1
Thomas Gardner, Aileen Wilson*

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Michael Switzer
Scenographics

Denise Lisson

Jim Peacock, Greg Lauer
Jim Peacock

Jules Tonus

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Victoria Dobson

Quita Alfred

Jack Medhurst

Leslie Whittaker, Jeanne Armstrong,
Leslie Dumbleton, Helen Gregor

Fina Khan

Mary Jo Carter

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David Macdonell

Robert Holmes

Michael Switzer

Daniel Brown, John Pederson, Brent ,
Oakley, Joe Lesniak, Rob Porter,
Laurie Milan, Wolf, Jim Peacock

*By permission of Canadian Actors' Equity Association

ACKNOWLEDGEMENTS AND CREDITS

The Canadian Opera Company, Wayne Vogan, Prof. Derek Holman, Russell
Braun, Charlotte de Neve, Laurie Bassett, Mrs. John Eros, The Canadian
Opera Guild (Oakville Branch), Canadian Opera Guild (Peel Branch),
Canadian Opera Women's Committee, Mr. Jim 5rickman of Brick Beer.

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The Faculty of Music cordially invites you to attend other events in
the Edward Johnson Building. Throughout the year there are many
recitals by Faculty members and students as well as orchestra, band,
choral, and jazz performances. Information is available in the
Calendar of Events, which may be picked up in the Main Lobby near
the Box Office. For information telephone 978-3744 or 978-3751.

Contributions for the scholarship or operating funds (payable to

the University of Toronto and directed to the Faculty of Music)

are most welcome, and are eligible for an income tax receipt.

Please address donations or enquiries to Professor Carl Morey, Dean,
Faculty of Music, University of Toronto, Toronto, Ontario, M5S 1Al.
Telephone 978-3761

KREKKRKKKKE

NEXT OPERA EVENT:

Scenes from L'Ormindo, Don Pasquale, La Fille du Régiment, Lucia
Di Lammermoor, Faust, Roméo et Juliette, Cendrillon, Werther,

Boris Godunov, The Love for Three Oranges, The Bartered Bride,
and the complete Secret of Susanna. ~

Thursday, April 24; Sunday, April 27; Friday, May 2; and
Saturday, May 3; 8 p.m. in the MacMillan Theatre

Unreserved tickets available from 5 p.m. at the Box Office on day
of performance. $5.00/$3.00 students and seniors.
OTHER UPCOMING EVENTS:

March 17: The University Singers, conductor: Michael Coghlan.
Walter Hall, 8 p.m., $3.00.

March 22: U. of T. Jazz Ensemble, director: Phil Nimmons.
MacMillan Theatre, 8 p.m., $5.00/$3.00 students & seniors

March 23: U. of T. Concert Band, Conductor: Bruce McGregor
MacMillan Theatre, 3 p.m., $3. 00.